Robert Dölle
Geboren 1971 in Frankfurt am Main, absolvierte er sein Schauspielstudium an der Otto-Falckenberg-Schule in München. 1996 trat Robert Dölle sein erstes Festengagement an den Münchner Kammerspielen an, wo er in Inszenierungen u. a. von Dieter Dorn und Peter Zadek zu erleben war. 1999 wechselte er ans Schauspiel Frankfurt, arbeitete da u.a. mit Amélie Niermeyer, Jens-Daniel Herzog und Hans Falar. 2001 kehrte er an die Münchner Kammerspiele zurück, wo er mit Regisseur*innen wie Jossi Wieler, Johan Simons und Karin Beier zusammenkam. Von 2009 bis 2019 war Robert Dölle am Schauspiel Köln engagiert und dort in Inszenierungen von Karin Beier, Stefan Bachmann, Alvis Hermanis, Christina Paulhofer, Rafael Sanchez, Sebastian Nübling, Nicolas Steman, Therese Willstedt, Roger Vontobel u. A. zu sehen. Seit 2019 ist er festes Ensemblemitglied am Residenztheater. Seit 2002 ist Dölle auch vermehrt in Film und Fernsehen zu erleben, wie zuletzt in den Serien «Das Streben nach Glück», «Die Füchsin» und «Greenlight». Er wurde mit dem AZ-Stern des Jahres 2021 für seine Rolle in «Finsternis» ausgezeichnet.
Performing in
Elisabeth Gärtner, a retired architect, has only one more wish: she wants to die. Her beloved husband died of cancer three years ago and without him life has no meaning for her any more. A drug that would allow her to die of her own volition has been refused her. Now the Ethics Council must make a decision on her case. Expert witnesses from the fields of law, medicine and theology argue over the question: Does a human being have a right to determine their own death? Are doctors allowed to help someone commit suicide? And who do our lives actually belong to? To us? To the state? Or to God?
Gott (God)
Hamsun’s trilogy tells the story of a man who feels he has been overlooked by the elites that set the tone and cheated of social recognition. The philosopher Ivar Kareno evolves from a 30-year-old radical and anti-liberal writer on the fringes of poverty into a 40-year-old private tutor to the two sons of a businessman in a distant coastal region. Here Kareno sits brooding in his writing tower, while an infectious fever descends on people, arriving from the North, the businessman Otermann is driven mad by his wealth and a strange man wanders between the houses, rumoured to be justice. Ten years later, the 50-year-old Kareno is still hoping for a major turning point in his life. And he will indeed reach a milestone where he must decide whether he will remain true to the radical ideas of his youth or to pursue a career that is more measured politically.
Spiel des Lebens (The game of life)
With sharp-witted and pleasurable writing, Kevin Rittberger demonstrates why climate targets will never be achieved under the current economic regime, that work is self-defeating if it makes people ill and that the model of blood-based kinship is outmoded due to the current state of medicine and technology.
Der Entrepreneur (THE ENTREPRENEUR)
The Italian writer Davide Enia is invited to a literary festival in Munich by his German colleague Albert Ostermaier – who suggests that he bring with him a text about the situation of the refugees in Southern Italy. For the Sicilian Enia, this is a pretext to travel to the island of Lampedusa, which he knows only as a holidaymaker. By October 2013 at the latest, when a shipwreck nearby caused hundreds of people to lose their lives, the island had become a shocking symbol of the European Union’s inability to prevent refugees dying in the Mediterranean Sea.
Finsternis (THE ABYSS)
